To be completely honest, the title to this article might sound odd to most. How can physical media possibly be more important than ever when digital has steamrolled the industry? At the surface level, it is dead. Retailers are pulling the last of the CDs off the shelves, marking the end of a decades-long music media evolutionary process. Yet, many have never spent more money on CDs, vinyl, and cassettes than they do now. I am extremely bad. If I don’t budget a monthly allowance to be spent on music I suddenly find myself in a position where groceries are particularly troublesome. Financial tomfoolery aside, I’ve come to realize that moving back toward physical releases has changed my relationship with music entirely. With today being Record Store Day my friends and I wanted to take a minute to share our passion for this fading corner of the music scene, and hopefully shed some light on why we consider physical releases more important now than they have ever been.

“In a world where streaming makes music easier to consume than ever, it seems as though its value is continuously decreasing. For a long time now, I’ve been confronted with the question “why buy a song when I can download it for free?” However, with the increasing prevalence of streaming, which poses as a way to “support” artists in a cheap (potentially free) way, the statement seems to just be given more validation. I’ve always felt that streaming is dissatisfying in many ways; there’s no connection between fan and artist. Physical albums allow that connection to exist. You have something tangible to hold, you have to store and maintain them, you get to surround yourself with what you love. They allow the music to keep its value in a market where it’s more dispensable than ever.”–@RajinBuu

“Buying records means reading liner notes. It means learning about the friends and family involved with the project and glimpsing into their world. It also meant (like in the case of Outkast) learning just exactly what they were saying in the days before OHHLA or Genius.”–@deaconlf

“As both an artist and a music lover I appreciate something tangible and it warmed my heart as an artist to know that so many fans wanted to buy a physical copy of our debut project, my mom bought one my dad bought one it was something that they can look at and say “wow my kid did this” and fans can look at and say “yeah I can touch this, I can hold on to it, I can frame it” it’s like a time capsule from a forgotten period where projects stayed in your rotation for longer than a week and reviews weren’t done instantly but it’s an incredible thing to be apart of, physical music goes right along with t shirts and posters as genuine mercy.”–@MTFRyourmom of @_Nobodies

“Physical releases, no matter the format, are more important than ever now. Much of our lives exist between ones and zeros, so holding and hearing and smelling something like a record can really fill the binary void… Establish a sense of connection beyond the internet. As soon as the needle hits the groove something real happens and it is fucking beautiful. It’s almost primal at this point. I think this is true with vinyl, cassettes and CDs. All formats provide a tangible experience that sounds better than streaming, hope people stop arguing about ‘superior’ formats and just focus on making something beautiful and real. Physical releases are awesome”–@FilthyBrokeRex

For myself it’s much of the same. I crave the connection to art that only physical media can provide. From the beauty of large format cover art to the excitement of finding carefully placed easter eggs inside the album booklet, there is a tactile appeal to the senses that cannot be found anywhere else. For me, it transforms listening to an album from a simple act of consumption to an event that feels special and unique every single time. The thrill of entering a record store or thrift shop and crate digging can only be surmounted by the childlike wonder I feel when my hands finally reach something that I want. My music collection at any given moment is a treasure trove of memories, personal discovery, and adventure. It’s something I curated for myself and nobody else; a scrapbook of self-assuredness that carries all my convictions in taste. I wouldn’t trade that feeling for the world.

There’s also the element of showing that you care. The artists I love create music that becomes an integral part of who I am, and as such I want to support them in any way that I can. Attending concerts isn’t realistic all the time, but buying something that I can hold, show people, and proudly display is always an option. Digital media feels so incredibly disposable, and to me that undermines the effort and dedication these individuals pour into creating something for us to enjoy. Sure, I can acknowledge that 25 or 30 dollars for a vinyl record sounds expensive; however, when you start to consider the entire process behind the album’s existence, it really isn’t that much money. Support keeps people creating. At the end of the day, I’m more than willing to shell out extra if it helps my favorite musicians are able to stick around a little longer. Fraction of a penny streams don’t pay the bills for anybody who isn’t already a star, and that fact alone would be enough for me to proclaim physical media’s importance in the modern climate.

If you still carry any doubts, please take the time to visit a record store today (or at any point in the near future). If you’ve never been fortunate enough to take the time, it is a vastly different experience than endlessly perusing music on Spotify or Google Play. It’s a world that not enough people take advantage of these days, yet there’s a reason it pulls so many of us in. We could sit here for days and try to explain, but really you won’t get it until you try for yourself. Who knows, you could just end up catching the same bug that bit the rest of us from the very moment we purchased our first albums. Apologize to your wallet on my behalf, and have fun!

8.5/10

I’ve said it before, but it needs to be stated at any given opportunity. Roc Marciano is the most influential underground rapper of this era. With 2010’s Marcberg, he created an entirely new style, which he later perfected on Reloaded. Since then, we have seen rappers popping up all over the underground, drawing inspiration from Roc, particularly over the last couple of years.

Around this time last year, Roc released Rosebudd’s Revenge, one of my favorite albums of 2017. It offered the streetwise lyrics, spoken-word delivery, and minimal, sample-heavy production that listeners have come to expect and love. Overall, he stuck to his guns; he stripped the production back further, but otherwise we got what we expected. Shortly afterwards Roc announced that there would be a sequel, subtitled The Bitter Dose, which was released late last month.

It seems like the story told over both Rosebudd’s Revenge records is a before/after story. The first was littered with tales of hustling, selling drugs, and pimping; the second comes off as Roc’s life after he’s attained the wealth and power he so desired. It feels like he’s rapping from the perspective of an incredibly successful hustler after retiring and buying himself an island, living in a massive villa with money, cocaine, and a different woman in every room.

While the first installment of this series was more or less predictable (which isn’t necessarily a bad thing), The Bitter Dose is anything but. Listening to it for the first time was a fun but very confusing experience. The production (courtesy of Arch Druids, Element, and Roc himself) is drastically different from anything we’ve heard on a Roc Marciano project thus far. It’s even more stripped back than normal, which actually adds to the luxurious feeling of the album. The tone is far less cold and gritty than that of Roc’s other projects, as well. Soul samples are still the driving force behind the production, but instead of creating the typical backing for grimy street tales, Roc and co. flipped the script and used them for a sound that felt almost tropical. It felt like a jazz/soul club at a hotel resort. The samples were adapted to create a vibe that was a lot sunnier and more celebratory than I’m accustomed to – even going back to the early ‘90s, I can’t think of another instance where they’ve been utilized like this.

Given the change in tone, there are fewer chances for Roc to write the vivid stories that he’s so good at. That’s not to say he doesn’t; “Power” essentially serves as this album’s “Pray For Me” and “Kill You” is as chilling as anything he’s penned. However, he takes this chance explore his wit as a writer differently. The character he plays here allows him to write braggadocious rhymes and luxurious punchlines on a level he hasn’t done so before. This is brag rap at its peak. There’s no other album on which “Bed Spring King,” a hysterical and ridiculous yet still catchy track, could exist and still make sense to its overall narrative.

Like usual, Roc opts to keep the guest appearances to a minimum. We see longtime collaborator and friend Knowledge the Pirate, whose contributions just fuel the desire for a solo album, and Action Bronson, who drops a fairly hilarious verse. Overall, Roc’s rapping stays true to his signature style. Surprisingly, there are actually a few moments where he tries new flows out. For instance, the way he rides the beat on “The Sauce” is entirely unlike any flow he’s used thus far. While he is normally laid-back, on this track, Roc picks up the pace a bit to match the frenetic energy of the production. It’s interesting to see him adapt his style to rap a bit differently than we’re used to hearing.

If there was anything to criticize about this album, it would have to be regarding the production at some points. There are a few songs that really just consist of a 4-bar loop with nothing else going into them. Sometimes doing that works, but of course it makes the beats too repetitive at other points, such as on “Bohemian Grove.” In addition, Roc’s albums tend to have a few stellar, standout tracks each, and this album didn’t really have anything like that. To be fair, though, there were no unnecessary tracks here either, unlike his previous albums, which have a bit of filler on each. As such, in a lot of ways this is his tightest and most consistent album thus far.

This album displays Roc Marciano at his most ambitious. While it still doesn’t quite match Reloaded, arguably is magnum opus, it is without a doubt his most innovative work since Marcberg. He stuck to his strengths while doing a great job at finding a new approach to his style, now that a huge portion of the underground scene has been built around it. For that reason, it’s an exciting listen, and it’s another great entry in Roc’s already impressive catalog.

The 1980s were an interesting decade for hip-hop as a genre that had just begun to find its footing. The classic artists of this era are often remembered for one of two things: infectiously bouncy party music, or gritty socially rooted rap. Yet, aside from the big names – N.W.A, Public Enemy, LL Cool J, Run D.M.C., The Beastie Boys, and a few others – rap from this particular point in history seems have found itself overshadowed by the behemoth that is 90s rap. Yet, if one is up to doing a little digging, there are a ton of very interesting artists to be discovered. One such group was Untouchable Force Organization, or as they were more commonly called, UTFO. An east coast rap group that brought a unique flavor to the sounds of the 80s.

UTFO formed in Brooklyn, New York in 1984 when two of Whodini’s regular break-dancers, Doctor Ice and Kangol Kid, made the decision to pursue a music career of their own. The two enlisted the talents of The Educated Rapper and Mixmaster Ice to round out a quartet. Thanks to the group’s pre-existing connections to the music industry it didn’t take them long to find a label to call home. In this case, it was Fred Munao’s Select Records that decided to take a chance with the group. The slightly more experienced R&B outfit Full Force was brought into the fold to assist the newer UTFO, tasked with overseeing the production of their debut studio album. Full Force took this job to heart, and sought the help of sampling and sound design expert Gary Pozner to assist with the instrumental portion of the record. Armed with some of the best in the industry, UTFO was primed to make a splash in hip-hop with their self-titled debut album. Which, is exactly what they did; in fact, the group probably got a bigger response than they bargained for.

Their freshman release is regarded by many hip-hop enthusiasts as a slept on classic, with its unique beats and flows for the era; however, UTFO as an album is still mainly known for setting off a massive string of diss tracks known as the Roxanne Wars. During the promotional run of the album, a track tilted “Hanging Out” was released and performed relatively terribly in terms of pure numbers. The b-side of the single, however, would go on to receive huge amounts of airplay. This song was titled “Roxanne, Roxanne,” a comical track about a hypothetical girl who had ignored the advances of the various UTFO members. Around this same time, UTFO missed a scheduled performance, much to the dismay of venue promoters Marley Marl and Mr. Magic. A 14-year old Lolita Gooden (known by her stage name Roxanne Shante) heard the men discussing the problem, and offered to write a song to fire back at UTFO. Surprisingly they took her up on this offer, and Marley Marl opted to handle the track’s production.

The fruit of their labor would be released not long afterward. It borrowed the original beat from “Roxanne, Roxanne” and was named “Roxanne’s Revenge.” Local radio stations adored the song, thrusting it into instant hit territory with continuous airplay. UTFO and Full Force saw the humor in the situation, and promptly contacted Elease Jack to perform vocals on their own answer track, “The Real Roxanne.” On this song, Elease claimed to be the actual Roxanne originally dissed by UTFO, and took jabs at all four members. This sparked Roxanne fever in the New York hip-hop scene, and artists entirely unrelated to the original incident began releasing Roxanne songs. Topics ranged from claiming to be Roxanne, claiming to know Roxanne, or in one particularly outlandish case, claiming that Roxanne was a man all along. It was such a craze that close to a hundred Roxanne songs were estimated to have seen release in the span of a few years. Though this seems highly likely to be exaggeration, there is no doubt that UTFO made their biggest splash with “Roxanne, Roxanne” and the time period around their debut album.

Perhaps unexpectedly, this was basically where UTFO’s career peaked. The Educated Rapper wasn’t on the group’s sophomore effort, Skeezer Pleezer. And the album itself didn’t garner much attention, apart from the song “Split Personality.” Their next three albums would also fail to meet expectations even though the group experimented with other sounds such as rock, swingbeat and reggae. Ultimately, the hypersexual Bag It & Bone It released in 1991 served as the endpoint for UTFO. The four men parted ways on good terms, and stayed active within the music industry in more subdue roles. They knew when it was time to call it quits, and that never impacted the lifelong respect they had for each other. A true testament to this was in 2017, when all of UTFO were reportedly by Educated Rapper’s bedside as he lost his battle to cancer.

Though they faded out of rap in an unspectacular manner, UTFO’s legacy should probably be spoken about more than it is. As ridiculous as they may have been, the Roxanne Wars were one of the first instances of beef extending beyond a one off diss and response. Their influence on modern artists was also far greater than one would expect, as evidenced by the outpouring of respect and love over the internet following The Educated Rapper’s death. UTFO helped paved the way for individuals that didn’t fit perfectly with the sound of their time. In most respects they were absolute eccentric oddballs compared to their contemporaries, but the group’s genuity left a lasting impression on the hip-hop scene. In retrospect, the present day alternative artist may not have even existed without the lane UTFO began to carve. While they may appear to have been a one hit wonder on the surface, it goes much deeper than that. Doctor Ice, Kangol Kid, The Educated Rapper, and Mixmaster Ice were four of the most important, but least spoken about individuals in the support structure of hip-hop.

8/10

Life as an independent artist is one heavy with fraught uncertainty. Finding footing amongst industry giants and a never-ending feed of new music is challenging enough without frequent shutdowns of the few venues which cater to the scene. Many feel nomadic, resulting in a strong urge to return to a fleeting musical home. It was no different emotionally for two CUTRA and 4Digit, so they took these feelings and concentrated them into a project of musical venting. The result, End of Future Park, ended up equal parts mournful and celebratory. It served as a sort of “homage to [a] place which doesn’t exist anymore; never existed; or will maybe exist at some point in the future.” Quite honestly, it was done extremely tastefully.

As with Click-Bait, 4Digit handled the production in its entirety on this release; however, End of Future Park was gloomier and significantly more experimental in nature. The project had an unsettling dystopian vibe, cultivated within the instrumentation by selective use of glitch and electronic elements. In some ways, the production followed a similar formula to some of clipping.’s earlier material by taking the foundations of hip-hop and twisting them with blowed out noise and synthetic heaviness. That’s not to say that it was derivative though, as the production was still noticeably his own flavor. The final track was also created using a curated mix of his left-over production prior to relocating. It may not have been the headliner on the album, but it was a lovely bonus to the total package.

On the vocal end of things CURTA wasted no time in proving he and 4Digit’s chemistry as a team. His exasperated, hyper-observant style complimented the glitchy and dark production wonderfully. He displayed the ability to inspire a painful hopelessness with his lyrics and delivery, similar to an artist such as Joe Horton of No Bird Sing. He isn’t the flashiest or most technically advanced of emcees, yet he always seemed to bring exactly what a track was calling for. His vocals also had an almost live-show quality to them, which was the perfect organic contrast to the heavily computerized instrumentation.

To keep it short and sweet, End of Future Park sounded like a rap concert happening atop a busted motherboard…that’s being said in the most positive way possible, because it truly was a fun experience.

Featured artists were kept to a minimum on this release. There was however a single guest, and he was a rather interesting one. This was of course Milwaukee-based WC Tank, perhaps most notable for his involvement in the production of music videos for Busdriver. He appeared on the track “I’m So Cool” – one of the weirder cuts on the album – and was a fantastically placed feature. While guest artists can feel pointless sometimes, WC Tank was absolutely not one of those cases. He added a pleasant sense of variation that made the full listen all that much better.

End of Future Park was an album that might not be a perfect fit for everyone’s tastes. It felt more niche than the majority of indie hip-hop releases; however, through that process CURTA put together something fully realized and true to itself. Ultimately the narrowed focus allowed for a concise, very enjoyable project. There were a lot of things here that haven’t been explored sonically by many, if any, artists in the past and that alone was quite admirable. The fact that CURTA and 4Digit managed to adventure into uncharted territory and leave with music that very genuinely sounded great was the cherry on top. For someone actively engaged in the experimental and alternative rap scene, this was certainly an album worth giving some extended attention. For those less familiar, it remained accessible enough to not be an intimidating first step into the world of weird. It also certainly posed the question of where exactly CURTA will take his sound in the future. A question that should be met with excitement and anticipation, taking everything into consideration.

Recently, Best Buy announced their plans to cease the sale of CDs in their stores by this summer. While I had a couple of CDs from family before I started collecting, the first time I bought a CD for myself was in 2009, at the Best Buy closest to my house. I would say that the bulk of the CDs that I have bought were bought at that exact Best Buy, actually. I can’t say I like the chain (at all), but I would be lying if I said it didn’t play a substantial role in the painstakingly slow growth of my collection.

I understand that Best Buy needs more room for TVs and phone kiosks, so keeping floor space for CDs when sales are continuing to drop doesn’t make business sense. However, as someone who is passionate about purchasing physical media, I am saddened by this news. While lately I’ve generally shifted away from CDs towards vinyl and cassettes, the easy access to CDs at a store 5 minutes away from home is without a doubt what helped foster my interest in collecting physical media. I can’t help but feel that the removal of CDs from a store like Best Buy will stop that from happening for other people. I’ve read that Target may be planning on only selling CDs by artists and labels with whom they have special deals with, which makes it even more unfortunate.

It’s clear that album sales are no longer going to be what they were. While I absolutely do not care about album sales, I’m very concerned about lesser-known artists and how they will probably get the short end of the stick. It’s been like that since streaming became a widespread thing. However, if CDs really are going to be pulled from stores, and with streams counting for so little as far as sales, either a new algorithm needs to be set up or else artists are just going to be screwed out of money even more severely. Those that were able to manage to even get their CDs in a store in the first place likely benefited quite a bit from doing so. Taking this option to get their music out there away hurts them.

I’m also concerned with what will happen to mainstream albums. The art of making an album subjectively seems as though it’s taken a hit in recent years with the continued growth of streaming. We all remember when Drake pretended a bunch of songs he threw together and sold was a “playlist” and not a bloated and overlong album. It was pretty clear that it was meant to be background noise 22 tracks longs for the extra streaming revenue. This doesn’t seem like it’s only limited to him, either. Jhene Aiko also released a 22 track album last year, Chris Brown released a 40-track monstrosity, and the new Migos album had 24 tracks. To me, all of this points to a trend in mainstream music where acts who know that they’re going to get a lot of streams are just going to milk that out for all it’s worth, and release massive albums that maximize their numbers, and ultimately, their revenue, at the cost of the actual quality of music they’re releasing. The effort and creativity it takes to structure and sequence an album could very well get thrown out, with artists opting to release projects that could end up as a pile of songs with no direction or purpose.

I don’t want to seem like the disappearance of CD is going to spell out doom for the music industry. However, I do think it’s irresponsible to essentially gut one of the easiest and most convenient ways of buying physical music. Of course, Best Buy and whatever other chains decide to follow suit don’t care, and they have no reason to. I do want to say, though, that I’m hoping this inspires people, ranging from avid collectors to those who might just want to pick an album up here or there, to visit their local record stores. While I’ve been picking up music when I can for close to 9 years now, it took until last month for me to step foot in a record store. That isn’t a good thing. Record stores are generally small businesses that survive solely on selling music, unlike chains like Best Buy and Target. I decided, even before this news broke, that I was taking my business away from said chains and putting my money into record stores, sites like UGHH, and other independent sellers.

Which reminds me, actually. When thinking about this, I can’t help but keep in mind that vinyl and cassette purchases have been on the rise over the last few years. Cassettes are still VERY niche, though, so that may not hold as much significance, but the fact that vinyl sales continue to grow does inspire a little confidence in me that physical media is still a factor in the music industry. What’s more is that there are some independent labels and artists who have not only sold vinyl and cassettes, but have used them to thrive; a label like Daupe Media comes to mind. I have no real understanding as to why this might be the case, but perhaps as ways of buying physical media continue to disappear, people become more interested in it as a novelty, and end up becoming collectors themselves. Who knows.

I know with me, my end goal is to essentially create a library of hip hop albums in various forms of physical media, as a way to preserve the music that has helped shape me. I feel like as avenues of purchasing physical albums go away, this sort of thing only becomes more and more important. I think any self-proclaimed lover of music owes it to themselves, and the artists they say they love, to pick up an album and dedicate space to it, to immortalize it. I’ve probably made a big deal out of nothing, because people can always go to Amazon to get the music they want, but I do feel a kind of way about this. Like with everything else (and possibly more so, given the cheaper options), physical media in music seems very much to be an “out of sight, out of mind” kind of product to most people. I believe that the further we go to remove it from stores where you can see and browse through it, the less people will consider buying it to begin with. That’s not something I’m very happy about.

8.5/10

On January 31st, 1971 NASA would launch the eighth manned mission to the moon, Apollo 14. The three person crew kicked off the 9 day mission from Kennedy Space Center’s Launch Complex 39, before travelling to the Fra Mauro Highlands on the near side of the lunar surface. This would serve as the last of NASA’s simplistic (relatively speaking) H-Type missions to the moon, as they upgraded to the longer J-Type with Apollo 15. While this particular Apollo mission was relatively understated, its legacy lives on as a success during the booming age of space exploration. An era that had a particular vibe of wonder, and captured the imagination of individuals even outside the realm of science.

One may now be asking how this is relevant to music, and Walter Gross is the answer to that question. Though he may not have been an astronaut on the Apollo 14 mission (or even much of a space enthusiast, for that matter), his love of ambient concentrative music lead him to an interesting place of inspiration: the Voyager recordings. Finding himself endeared to the organic beauty of these pieces, he began work on his own out of this world experimentation. Quickly reaching full realization with a 23 minute (50 counting the Stray Signals Cassette Mix) long tape of atmospheric allure, The Fra Mauro Highlands. An album which would suitably see release on the 47th anniversary of Apollo 14.

Though it bares his name, The Fra Mauro Highlands was not the type of project one has come to expect from Walter Gross. It abandoned a lot of the crunchier, abrasive noise elements he’s become known for in the past, opting to try something a little more ambient instead. Once expectations were subverted however, this was a wonderful listening experience. It hit the flavor of desolate space music perfectly, and managed to feel cold while also inspiring a sense of adventure. There was a particular hint of retro-futurism to the tape, to the same vein as a movie like 2001: A Space Odyssey. This was due primarily to brilliant sound contrast constructed by Walter Gross. The entirety of The Fra Mauro Highlands had an underlying subtle ambiance of whooshing and swirling sounds that were distinctly galactic and harrowing. Atop of this there were moments of gorgeously vintage sounding synthetic instrumentation, used sparsely enough to maintain a sense of mechanical exploration through an all encompassing emptiness. It didn’t mess around with precisely divide tracks. Rather, this album was one continuous piece of music that built upon itself, evolving in a natural and off-the-cuff manner.

With all that in mind, there were aspects of The Fra Mauro Highlands carrying Walter’s signature touch. It was an immensely unsettling selection of work, with the emptiness and overall tone having created a strong sense of urgency and apprehensiveness of the unknown. With artistic anxiety being such a mainstay in his music, this familiarity was oddly comforting. It provided reassurance that this is exactly how the project was supposed to make one feel, and not an emotion to be avoided. The “Stray Signals Cassette Mix” which followed the conclusion of The Fra Mauro Highlands rewound things back a little further stylistically, while having maintained the same overall vibe. It wasn’t the star of the show by any means, but it was very good and really provided a feeling of returning home to the established fan of Walter Gross. A return after a fantastic journey.

Much like the Apollo 14 mission itself, The Fra Mauro Highlands will likely go down as one of Walter Gross’ most under-the-radar releases. While it was absolutely excellent, it appealed to a listener base even more niche than his signature barrage of noise. Which is unfortunate, because it was a stunningly beautiful, and somewhat anxious, ambient album. It wore its inspirations on its sleeve, and the ambition was undeniable. Do-it-Yourself music is about pushing limits, catching waves of inspiration, and trying things outside of the box just to see what will happen. Walter Gross did all of these things with The Fra Mauro Highlands. It embodied the spirit of the scene entirely, and should find itself respected as such.

LARS/10

That score is not a mistake, nor is it a bad thing (it’s actually incredibly good); all will become clear in due time. Sit back in your easy chair, smoke something, and read on about a super clever project from two mainstays in the Detroit underground.

Veteran emcees King Gordy and Bizarre had been teasing a duo project for a long time, perhaps nearly a decade. Originally under the group name Davidians, the pair released multiple “street single” one-off songs in addition to regularly collaborating on each other’s solo material. In spite of this, it seemed as if the idea of a full length Davidians project had been permanently relegated to the back-burner for both emcees. This changed in 2017, when the enigmatic pair found a home for their collaboration on Magik Ninja Entertainment. The name Davidians was dropped in favor of LARS (standing for Last American Rock Stars), taking on a rocker theme that King Gordy had been toying with for years. Later the same year they released a teaser mixtape called Foul World, and announced Last American Rock Stars as their debut album. The release was slated for early 2018.

Flash forward to 2018, and they followed through on that promise. The record was finally here.

Last American Rock Stars played out like a concept album of sorts. It felt as if one was being brought along for a drug fueled bender lead by two of the wildest scumbags on Earth. Perhaps unsurprisingly the album had an incredibly macabre tone. There was this looming grimness to everything, regardless of how celebratory a song may have been. King Gordy and Bizarre played the role of degenerate rock stars perfectly, as if they were addicted to the party lifestyle to the point that consequences no longer retained their meaning; however, an awareness of the damage being done was always present. King Gordy’s fascination with individuals such as GG Allin showed significantly the the direction of LARS on this project. Ultimately the album captured the qualities that most would attribute to a outlandish-yet-grimey rockstar life: violence, sex, drugs, and criminal debauchery. These themes were presented with a lovely degree of nuance, making them seem fun as hell, but a surefire way to burn out quickly.

The concept may have been slightly loose, but it was incredibly ambitious. The chaotic nature of the events depicted on Last American Rock Stars did lead to a confusingly scattered first listen, but once everything settled it was executed quite well. It took two or three listens for everything to come together, but it was well worth the time.

Beyond that, the album just had a lot of things working in its favor. King Gordy is in his prime as a rapper right now, and it felt like he could do no wrong here. If he wasn’t bringing a spastic energy to a track, he was probably using a mesmerizingly smooth flow to dazzle the listener. He was the true highlight of the release, and songs such as “Just Got Out The County,” “California,” and “Rock N Roll” feature some of his best work on the mic in years. Bizarre was more hit-and-miss, but even his weaker verses had merit in their personality and construction of the “last true rock stars alive” theme; moreover, his stronger verses were perhaps his most entertaining since the heyday of D12. The duo had some hilarious lines scatter throughout the totally depraved lyrical content as well, which gave the album a nice sense of range. One of the most memorable moments in this regard is on “Rock N Roll”, where King Gordy boasts about being a mosh-pit starter immediately before attempt to persuade the listener to attend a LARS show because “it only costs six dollars.” Humor like that brought a lot of character to Last American Rock Stars, and it was used sparingly enough to keep everything fresh.

It should also be noted that “can we borrow y’all lawnmower?” is one of the funniest adlibs to ever appear on a rap album. Thank you, Bizarre, you are a treasure.

The featured artists were also cool, and that’s not always easy to find in underground projects. Fury, Monoxide Child (of Twiztid) and Twista had the most interesting verses, but everybody else held their own. It truly felt as if LARS were taking you to meet some of their equally (if not more) trashy friends, and it bolstered the concept wonderfully. The production was also selected and handled in an impressive manner. The blend of trap, rock, and underground throwback beats intermingled more smoothly than one may have expected. The variety did a superb job at giving each song a distinct backdrop and emotional feel. For example, tracks like “Stomp” and “I Believe I Can Fly” could not have been further removed from each other sonically, yet they both sounded perfectly at home on Last American Rock Stars. With all that in mind, King Gordy and Bizarre made excellent selections for a supporting cast and the album benefited from it hugely.

The only real issue with Last American Rock Stars was the mastering. The album got significantly quieter during and after “Lit.” At least, this is true on the Spotify release (the physical or iTunes versions may not suffer from this issue). It wasn’t a huge deal at all, though. The mixing overall is fantastic, and it’s fairly easy to slide the volume up on the later songs using one’s audio player of choice. [Update 25/02/18: mastering was not an issue on the physical copy or iTunes version, this appeared to have been exclusive to Spotify]

The reason Last American Rock Stars was so difficult to assign a score to is the fact there is no frame of reference to compare the album. It sounded like a beast entirely of its own, and the uniqueness was refreshing. They managed to turn a scattered tracklist into a musical cross between The Hangover and Hated: GG Allin and the Murder Junkies. It played through like a journey into a life that most will never live, with King Gordy and Bizarre enthusiastically inviting the listener along for the experience. The album felt dirty and taboo, but also thrilling and adventurous. It forced inhibitions out the window, and aimed to take the listener wherever it pleased. The Detroit duo may have taken a lot of years to finally come together on a project like this, but the wait meant that their potential got to be fully realized. Last American Rock Stars is absolutely a recommended listen, particularly for those wishing to dive into an album that is distinctly true to itself.